In 1960, the renowned architect Philip Johnson championed Frederick Kiesler, calling him “the greatest non-building architect of our time.” Kiesler’s ideas were difficult to construct, but as Johnson believed, “enormous” and “profound.” Kiesler (1890–1965) went against the grain of the accepted modern style, rejecting rectilinear glass and steel in favor of more organic forms and flexible structures that could respond to the ever-changing needs of the body in motion.
The Juilliard-trained cellist Charlotte Moorman sat nude behind a cello of carved ice, performed while dangling from helium-filled balloons, and deployed an array of instruments on The Mike Douglas Show that included her cello, a whistle, a cap gun, a gong, and a belch. She did a striptease while playing Bach in Nam June Paik’s Sonata for Adults Only.
Simone Forti’s art developed within the overlapping circles of New York City’s advanced visual art, dance, and music of the early 1960s. Her “dance constructions” and related works of the 1960s were important for both visual art and dance of the era. Artists Robert Morris and Yvonne Rainer have both acknowledged her influence.
This book begins with the building of a house, and the building of a company while building the house. It expands to look at the ideas found in various rooms, some of which expanded into virtual space while they still were grounded in the lives of the artists in the house. —from the preface by Marianne Weems
In the vibrant downtown Manhattan art scene of the late 1970s and early 1980s, the Taiwanese-American artist Tehching Hsieh made a series of extraordinary performance art works. Between September 1978 and July 1986, Hsieh realized five separate one-year-long performance pieces in which he conformed to simple but highly restrictive rules throughout each entire year.
In Motion and Representation, Nicolás Salazar Sutil considers the representation of human motion through languages of movement and technological mediation. He argues that technology transforms the representation of movement and that representation in turn transforms the way we move and what we understand to be movement. Humans communicate through movement, physically and mentally.
In Alien Agency, Chris Salter tells three stories of art in the making. Salter examines three works in which the materials of art—the “stuff of the world”—behave and perform in ways beyond the creator’s intent, becoming unknown, surprising, alien. Studying these works—all three deeply embroiled in and enabled by science and technology—allows him to focus on practice through the experiential and affective elements of creation.
The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art.
The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters, steps, trembles, and spasms.
A specter is haunting philosophy—the specter of Hamlet. Why is this? Wherefore? What should we do?
Entering from stage left: the philosopher’s Hamlet. The philosopher’s Hamlet is a conceptual character, played by philosophers rather than actors. He performs not in the theater but within the space of philosophical positions. In All for Nothing, Andrew Cutrofello critically examines the performance history of this unique role.